The Amazonian forest, an extraordinary sound balance in the 3 dimensions of space.
“I was amazed to discover the sounds of the Amazon rainforest during my trip to French Guiana for 3 recitals in December 2006. The mystery of how we succeed to distinguish each sound in the midst of dozens or hundreds of other sounds, was for me like a world peace which principles needed to be discovered!”
After a long immersion in the Amazonian sound universe and innumerous observations on the synchronization of the sounds of living beings in the 3 dimensions of space – several have since obtained international scientific confirmations– Isabelle Sabrié gradually conceived the rhythmico-spatial harmony that architects her musical compositions and creations since 2010.
Rhythm-space harmony is a musical language that links time and space, based on the physical and temporal proxemics observed in the Amazonian forest. This language creates “spatial melodies” which evolve in various points of the space of a room, it develops new sound movements in space, superimposes styles. It can be visual for dance creations, films, sound installations. In opera, the rhythmic-spatial harmony participates directly in the theatrical action, bringing a very modern expression of dramatic emotions.
Precise distances are established between the sound sources all over the hall, around the audience. They follow a specific time-space organization, so that the sound balance evolves in the physical space in 3 dimensions. This musical biomimetic concept follows the Nature´s rules observed in the multipolar natural balance of the forest.
Rhythm-space harmony allows a “harmonious” and perceptible coexistence of several very different musical systems, united in a common pulsation from different places. It can add the movements of sound in space to the classical or romantic harmonic system, without excluding melody or emotions, and does not exclude any musical system, any type of sound or language. Rhythmic-spatial harmony is a solution to avoid the cohesive factors in polyrhythms, decried by Olivier Messiaen. And, as for example in the compositions of Johann Sebastian Bach, the musical discourse, here polyrhythmic and spatial, is more important than the timbres.
Rhythm-space harmony builds percussive rhythms in 3D, popular and erudite ones. It uses the boxes of the Theater à l´italienne to place small orchestral groups or choirs, reuniting tradition with modernity. It may also flourish in modern multi-stages theaters, multi-channel sound halls, Dolby theaters.
Rhythm-space harmony is an expression of our multilingual, real/virtual, simultaneousmulti-lives on internet/ smartphone /computer/ tv /radio/ virtual games / real life. It is the artistic language of a new balance, spatial, multidimensional, for the arts, thought and technologies of the 21st century. Edgar Morin, father of the transdisciplinary Complex Thinking, is its godfather.